Review: BETWEEN RIVERSIDE AND CRAZY, Hampstead Theatre
Photo credit: Johan Persson
The atmosphere at the Hampstead Theatre was electric last night for the opening of Steven Adly Guirgis's latest play. Known for works like The Crazy Motherf**ker With a Hat and The Last Days of Judas Iscariot, Guirgis is a sought-after playwright for theatres aiming to make a splash in a competitive season. Following successful runs of his previous works, including performances at the National in 2008 and The Almeida in 2015, the Hampstead Theatre has struck gold with Between Riverside and Crazy. Masterfully directed by Michael Longhurst, who is no stranger to a main stage, this production is truly entertaining and powerful.
In the heart of New York City circa 2014, lies the rent-controlled apartment situated in one of Manhattan's most coveted neighbourhoods of Walter 'Pops' Washington (Danny Sapani), a former cop. Since the passing of his wife, Walter shares his home with his son Junior (Martins Imhangbe), Junior's girlfriend Lulu (Tiffany Gray), and friend Oswald (Sebastian Orozoco). All have good intentions but get mixed up in either petty crime or making questionable decisions. Walter is determined to live life on his own terms despite pressure from both landlords eager to evict him and the NYPD who are urging him to settle a lawsuit he has against them. In this messy situation, everyone is vying for control but Walter remains steadfast in his resolve to do things his own way.
There is much to unpack with this plot. Walter's character embodies a complex intersection of race, societal expectations and personal experiences. Having been a black man in the NYPD, he has faced a lifetime of cultural clashes and injustices, which have fuelled a simmering anger. His line “…what a world it would be if “what was right was enough” encapsulates the soul and sobering reality of the play. It not so much justifies but invites the audience to empathise with what might seem like unnecessary and extreme choices he makes to feel control over his life. The play offers harsh truths of racial inequality and the complexities of navigating a system designed against a minority and prompts reflection on the enduring legacy of discrimination and the ways that individuals like Walter seek to carve out a sense of dignity and control amidst adversity.
Despite the hard hitting themes, one of the main charms of the play is the humour it maintains even in its darkest scenes. The unexpected poetry Guirgis finds within colloquial language of his New York characters is constantly either hilarious, piercing or beautiful, and is held incredibly well by the cast. This is no doubt attributed to Longhurst’s sensitive direction and technically aided by voice and dialect coach Aundrea Fudge with the work she has done with them to embody the soul of the language.
Another triumph of the play lies in its adept handling of tonal shifts, seamlessly transitioning between moments of lightness and darkness. A particularly notable example is the lengthy scene involving Walter and two of his ex-colleagues from the force, Detective Audrey O’Connor (Judith Roddy) and Lieutenant Dave Caro (Daniel Lapaine). Here, the play navigates through layers of tension, humor, and emotion with remarkable dexterity.
The entire cast shine together but it's undeniable that Sapani’s portrayal of the main role elevates the production. His experience and gravitas bring depth and authenticity to the character, capturing both warmth and charm alongside the complexities of a damaged soul capable of moments of viciousness. As the central figure, Sapani’s performance serves as a gift to the entire ensemble, anchoring the production with his compelling presence.
Additionally, a special mention must also go to Ayesha Antoine. The moment she arrives on stage as the overbearing church lady who will literally do anything to ‘save Walters soul’ has a small part in comparison to others but a presence that commands and drives the story through its turning points.
Richard Hammarton's sound design, with its evocative jazz elements and clashing sounds, effectively complements the story and context of the characters. The minimalistic approach adds depth to the narrative without overpowering it. Similarly, the clear and simple set design serves to highlight the juxtaposition between the characters' lives and their challenging environment. However, the production encounters a slight stumble in its handling of set changes and transitions. While there appears to be intention behind the visible shifts and prolonged adjustments of the space, the execution sometimes lacks the confidence seen in other aspects of the work.
Between Riverside and Crazy is a well crafted and imposing piece of theatre that deserves to be experienced. It has something to say and it will stubbornly put you in a position to listen!
**** Four stars
Reviewed by: Stephanie Osztreicher
Between Riverside and Crazy plays at Hampstead Theatre until 15 June, with further info here.